Kullanıcı:Devrimdpt/Yapılacak
Sovyetler Birliği Sineması değiştir
Sovyetler Birliği sineması rusça’nın diğer Sovyet Cumhuriyetlerinde yapılan sinemalara göre daha baskın olmasına rağmen Rus sinemasından farklı bir kategoride değerlendirilmemelidir. Sovyetler Birliği’nde çevirilen tüm filmlerin bir Sovyet Kültürünün, tarihinin etkisinde olduğu söylenebilir. Sovyet sinemasında Ermenistan Sovyeti, Gürcistan Sovyeti ve Ukrayna Sovyeti’nin ve daha az derecede Litvanya, Beyazrusya ve Moldova Sovyetleri’nin de hatırı sayılır katkıları vardır. Bu Sovyet cumhuriyetlerinin sinemaları da kendi tarihleri kültürleri ile Sovyet dönemi öncesi hallerinden farklı olarak ve ortaklaşan bir kültürle Sovyet Sineması içinde yerlerini almışlardır.
Tarihsel Bakış değiştir
Sovyetler Birliği’nin 30 Aralık 1922 yılındaki resmi kuruluşu ile birlikte yeni bir ülkenin, yeni ve ortak yaşamın kurulmasında sinema oldukça işlevli bir propaganda aracı özelliği taşımaktadır. Lenin’in en önemli görevin yeni işçi devletinin vatandaşlarının eğitim ve kültür açısından beslenmesi olduğunu ilan etmişti. Birinci Dünya Savaşı ile Ekim Devrimi arasıdaki dönemde sinema kendi ayakları üzerinde duramayan ve dağınık bir destek ihtiyacı duyan bir durumda idi. Bu dönemdeki sinema faaliyetleri sadece Moskova ile Petersburg arasında devam etmekte idi. Aynı zamanda film yapımcılarının bir çoğu ülkeyi terkettiler. Bununla beraber yeni hükümetin büyük film projelerine harcayacak parası da yoktu. Böylece ilk yapılmasına karar verilen şey ellerinde mevcut olan imkan ve birikimlerle Sovyet sinemasının ana hatlarını belirlemek oldu. Elde olan tek şeylerin büyük çoğunluğunu sinema salonları oluşturuyordu. İlk Sovyet filmleri Çarlık Rusyası’ndan kalma filmlerin tekrar gözden geçirerek ve bunların içinden yeni Sovyet ideolojisine yakışmayanları temizleyerek yeniden değerlendirilmesi ile elde edilmiştir. Buna rağmen 1918’de gösterime giren ilk film Baba Sergey de bu kalıba pek uymamıştır. Film Çarlık Rusyası’nın son dönemlerinde bitirilmiş ancak yayınlanamamış, dinsel yönü ağır basan bir filmdir
İlk yıllarda çok para harcamadan çekilebilecek kısa ve eğitim yanı ağır basan ve daha sonra ajitasyon-propaganda diye tanınacak olan filmlere ağırlık verildi. Bu filmlerle işçi sınıfını hareketlendirmek ve kurulan yeni ülkeyi desteklemelerini sağlamaktı. Genellikle tek makaradan oluşan bu filmler şehir-kasaba-köy her yere taşınıp insanlara izletililmekle kalmamış canlı konuşmacılar da filmlerle beraber ülkeyi gezmişlerdir. Bu filmler arasında Djiga Vertov’un haber dizisi Kino-Pravda. Gerçek*sinema en çok bilineni idi. 1922 – 1925 yılları arasında çekilen bu filmlerde Vertov Sosyalist-realizm bir tarz benimserken bir çok yeni şey deneme imkanı da bulmuştur. 1921’lerin sonuna kadar Moskova’daki sinemalardaki hareketsizlik devam etmiştir. Ancak eski Rus filmlerinin kullanılmaya başlanması ve dışarıdan uzun filmler getirilmesi ile film sektörü hızlı bir şekilde canlanmıştır. 1923 yılında açılan yeni sinema sayısı 89’dur. Bilet ücretlerindeki yüksek vergiler ve kira bedellerine rağmen film gösterilecek yeterli salon vardı ve bazı girişimciler yeni Sovyet dünyasının görüşlerini yansıtmasalar da yeniden film yapmaya başladılar. Ülkede kalan ve ülkede sosyalizmin kurulmasını destekleyen yazar ve yönetmenler sinema endüstrüsüne de ağırlıklarını koydular. Ülkede kalan tecrübeli sinemacılara yeni yetenekler de eklendi. Bu sanatçılar topluluğu sovyet filmini tanımlamak amacı ile biraraya geldiler. Gözden düşmüş kapitalizmden farklı bir şey yapmak için. Topluluğun liderleri önlerine koyulacak ilk amaç olarak bir çok türde deneysel filmler yapmak ve gelişen yaratıcı çabaları ile güzel bir yere gelmekti. Tabi bu gelişim içinde çıkan sonuçların devletin de beğenisini kazanması gerekmekte idi. Eisenstein's Battleship Potemkin was released to wide acclaim in 1925; the film was heavily fictionalized uydurulmuş and also propagandistic, preaching the party line about the virtues erdem of the proletariat.
The party leaders soon found it difficult to control directors' expression, partly because definitive understanding of a film's meaning was elusive. Eisenstein’ın Potemkin Zırhlısı filmi 1925 yılında gösterilir ve büyük bir beğeni kazanır. Film profangadatif içeriklidir ve parti çizgisine proleteryanın erdemlerini hakkında bir öğüt olarak da algınalabilir. Bu filmle parti liderleri film’leri yorumlammanın zorluğunu ve film yapımcılarının kontrol edilmesinin ne kadar zor olduğunu anlarlar. Ve 1930 yılında Sirk filmi gösterime girer. 1940’ların önemli filmleri arasında Aleksandr Nevskiy ve İvan Grozniy sayılabilir. %0’lilerin sonu 1960’ların başlarında Sovyet filmi Bir askerin türküsü ile tekrar atağa geçer. Film Amerika’da ve ödül alır. Bu yıllardaki diğer önemli film Turnalar Uçuyor’dur. Yükseklik 1950’lerin en iyleri arasındadır bu film ayrıca ozan hareketinin de temeli olarak görülebilir. One of the most popular films released in 1930s was Circus. Notable films from 1940s include Aleksandr Nevsky and Ivan Grozny. In the late 1950s and early 1960s Soviet Cinema again flowered, beginning with films such as Ballada o Soldate Ballad of a Soldier that won the 1961 BAFTA Award for Best Film and The Cranes Are Flying. Vysota (Height) is considered to be one of the best films of the 1950s (it also became the foundation of the Bard movement).
Screenshot from Grigori Chukhrai's Ballad of a Soldier (1959). 1980’ler ise daha değişik bir sorun üzerine şekillenmiştir. Bu dönemler bir çok hassas meselenin açıkça tartışıldığı bir dönemdir. Stalin’in Gürcistan politikası Pişmanlık adlı filmle eleştirilirken bilim kurgu filmi Kin dja dja da Sovyet günlük hayatına göndermeler yapmaktadır. The 1980s saw a diversification of subject matter. Touchyduyarlı issues önemli nokta could now be discussed openly. The results were films like Pokayanie (Repentance), which dealt with Stalinist repressions in Georgia, and the dokundurmalı allegorical science fiction movie Kin-dza-dza!, which yermek satirized the Soviet life in general.
[edit] 1950s
In the beginning of the Cold War writers, still considered the primary auteurs, were all the more reluctant isteksiz to take up seneryo script writing, and the early 50s saw only a handful of feature uzun fılm films completed during any year. The death of Stalin was a merciful relief to many, and all the more so was the official trashing of his public image as a benign and competent leader by Nikita Khruschev two years later. This latter event gave filmmakers the margin of comfort they needed to move away from the narrow formula stories of socialist realism, expand its boundaries, and begin work on a wider range of entertaining and artistic Soviet films. [edit] 1960s-70s The 1960s and 1970s saw the creation of many excellent films, many of which moulded Soviet and post-Soviet culture. They include: • Seventeen Instants of Spring (Semnadtsat mgnoveniy vesny), which created the immortal character of Standartenführer Stirlitz, and whose compelling and unbiased look at the life of a spy in wartorn Germany made the film popular in both the Germanies as well. • White Sun of the Desert (Beloe Solntze Pustyni) (1970), a classic 'Eastern', although with dubious stereotyping of central Asians. It is ritually watched by cosmonauts before launches, and has contributed many quotes to the Russian language such as 'The East is a delicate matter'. Its theme tune became a huge hit. • Solaris (1972) • Moscow Does Not Believe In Tears (Moskva Slezam ne Verit) • Ya Shagayu po Moskve (I am striding Through Moscow) • Irony of Fate (Original title: Ирония судьбы, или С лёгким паром!) • Pokrovskiye Vorota (Pokrovsky Gates) • Gentelmeny Udachi (Gentlemen of Fortune) starring Yevgeny Leonov • Operatzyya "Y" i drugie priklucheniya Shurika (Operation "Y" and other Shurik's adventures) and its sequel, Kavkazskaya Plennitsa (Captive Woman of Caucasus) • Brillyantovaya Ruka (Diamond Hand). The latter four comedies, especially Diamond Hand, have contributed a lot of humorous quotes. Soviet directors were more concerned with art than with success (They were paid by the academy, and so money was not a critical issue). This contributed to the creation of a large number of more philosophical films. In keeping with Russian character, tragi-comedies were very popular. Soviet films tend to be rather culture-specific and are difficult for many foreigners to understand without having been exposed to the culture first. Animation was a respected genre, with many directors experimenting with technique. These decades were prominent in the production of the Ostern or Red Western. In the year of the 60th anniversary of the Soviet cinema (1979), on April 25, by the Decision of the Presidium of the Supreme Soviet of the USSR, the commemorative Day of the Soviet cinema was established. It was then celebrated in the USSR each year on August 27, the day, on which V. I. Lenin signed a decree on the nationalisation of the cinema and photo industries of the country.
[edit] Recent history
Nikita Mikhalkov in the 2005 Fandorin-movie The Councillor of State. The collapse of the Soviet Union brought a virtual end to quality cinema (as well as literature) in Russia and the other republics. Very few films of note were created for over a decade. These included Oblako-ray (Cloud-Paradise) and Burnt by the Sun (Russian: Утомлённые солнцем, Utomlyonnye solntsem). The Barber of Siberia (1998) (Russian: Сибирский цирюльник, Sibirskij Tsirjulnik) by Nikita Mikhalkov became very famous. The new Russia's cinema is more profit-oriented, with artistic needs taking a backseat to more immediate desires. Much low-quality action, comedy and pornography has been filmed. In 2002, Aleksandr Sokurov filmed Russian Ark, the world's first unedited feature film: recorded in uncompressed high definition, shot in a single take and featuring the world's longest Steadicam shot. The film is 90 minutes long. The thematically similar films, The Return (Vozvrashcheniye) and Roads to Koktebel, have also received critical acclaim in recent years. The Return (Vozvrashcheniye) won two prestigious awards at the Venice Film Festival. [edit] Soviet films List of Soviet films [edit] Notable filmmakers Early personalities in the development of the Russian cinema: • Grigori Aleksandrov • Yevgeni Bauer • Alexander Dovzhenko • Sergei Eisenstein • Lev Kuleshov • Yakov Protazanov • Vsevolod Pudovkin • Ivan Pyryev • Dziga Vertov Later personalities: • Andrei Konchalovsky • Nikita Mikhalkov • Aleksandr Sokurov • Andrei Tarkovsky • Eldar Ryazanov • Leonid Gaidai • Georgi Daneliya • Kira Muratova • Sergei Parajanov • Andrey Zvyagintsev [edit] Soviet Studios • Armenfilm • Azerbaijanfilm • Belarusfilm • Gorky Film Studio • Gruziya-film • Kazahfilm • Kirgizfilm • Lenfilm • Lithuanian Film Studio • Moldova-Film • Mosfilm • Olexandr Dovzhenko Film Studios • Odessa Cinema Studio • Pilot • Sverdlovsk Film Studio • Tadjikfilm • Tallinfilm • Turkmenfilm • Uzbekfilm [edit] See also • Soviet classic movies • List of Soviet movies of the year by ticket sales • History of Russian animation • History of cinema • World cinema [edit] External links • Russian Movies database (dvd & vhs catalogs, actors & directors pages) • Russian Film Database, University of Innsbruck, Austria • Russian Films store (RussianDVD.com) • The Return (Возвращение) Review at FilmDailies.com - a filmmaker's blog
The cinema of the Soviet Union, not to be confused with "Russian Cinema" despite Russian language films being predominat in both genres, includes several film contributions of the constituent republics of the Soviet Union reflecting elements of their pre-Soviet culture, language and history, although sometimes censored by the Central Government. Most notable for their republican cinema were Armenian SSR, Georgian SSR, Ukrainian SSR, and, to a lesser degree, Lithuanian SSR, Byelorussian SSR and Moldavian SSR. At the same time, the nation's film industry, which was fully nationalized throughout most of the country's history, was guided by philosophies and laws propounded by the monopoly Soviet Communist Party which introduced a new view on the cinema, which was different from the one before or after the existence of the Soviet Union. The new state, the Soviet Union, officially came into existence on December 30, 1922. From the outset, it was held that film would be the most ideal propaganda tool for the Soviet Union because of its mass popularity among the established citizenry of the new land; V. I. Lenin, in fact, declared it the most important medium for educating the masses in the ways, means and successes of Communism, a position which was later echoed by Joseph Stalin. Meanwhile, between World War I and the Russian Revolution, most of the film industry, and the general infrastructure needed to support it (e.g. electrical power), was in a shambles. The majority of cinemas had been in the corridor between Moscow and St. Petersburg in Russia, and most were out of commission. Additionally, many of the performers, producers, directors and other artists of pre-Soviet Russia, had fled the country or were moving ahead of the Red Army forces as they pushed further and further south into the remainder of the Russian Empire. Furthermore, the new government did not have the funds to spare for an büyük kapsamlı extensive reworking of the system of filmmaking. Thus, they ilk olarak initially opted kararlaştırmak for project approval onaylamak and sansör censorship guidelines anahat while leaving what of the industry remained in private hands. As this amounted mostly to cinema houses, the first Soviet films consisted of recycled films of the Russian Empire and its imports, to the extent boyut that these were not determined to be offensive yakışmayan to the new Soviet ideology.
Ironically, the first new film released in the Soviet Union did not exactly fit this mold: this was "Otets Sergii", in English "Father Sergius", a religious film completed during the last weeks of the Russian Empire but not yet exhibited. It appeared on Soviet screens in 1918.
Beyond this, the government was principally able to fund only short, educational films, the most notorious adı çıkmış of which were the agitki - propaganda films intended to "agitate", or energize and enthuse övmek göklere çıkarmak , the masses to katılmak participate fully in approved Soviet activities, and deal effectively with those who remained in opposition to the new order. These short (often one small reel) films were often as not visual aids and accompaniments to live lectures and speeches, and were carried from city to city, town to town, village to village (along with the lecturers) to indoctrinate the entire countryside, even reaching areas where film had not been previously seen. Newsreels, as documentaries, were the other major form of earliest Soviet cinema. Dziga Vertov's newsreel series Kino-Pravda, the best known of these, lasted from 1922 to 1925 and had a propagandistic bent; Vertov used the series to promote Socialist realism but also to experiment with cinema. Still, in 1921, there was not one functioning cinema in Moscow until late in the year. Its rapid success, utilizing old Russian and imported feature films, jumpstarted the industry significantly, especially insofar as the government did not heavily or directly regulate what was shown, and by 1923 an additional 89 cinemas had opened. Despite extremely high taxation of ticket sales and film rentals, there was an incentive for individuals to begin making feature film product again - there were places to show the films - albeit they now had to conform their subject matter to a Soviet world view. In this context, the directors and writers who had remained in support of the objectives of Communism assumed quick dominance in the industry, as they were the ones who could most reliably and convincingly turn out films that would satisfy government censors. New talent joined the experienced remainder, and an artistic community assembled with the goal of defining "Soviet film" as something distinct and better from the output of "decadent capitalism". The leaders of this community viewed it essential to this goal to be free to experiment with the entire nature of film,
a position which would result in several well-known creative efforts but would also result in an beklenmedik unforeseen counter-reaction by the increasingly gittikçe solidifying katılaşmak administrators of the government-controlled society.